Ukrainian sacred music Ukrainian sacred music of the 17 – 18 centuriesof the 17 – 18 centuries

Church music. From the mid-16th to the end of the 17th century a contrapuntal or polyphonic singing (vocal music with simultaneous but melodically independent parts or voices) was developed in Ukraine.

This development was accommodated by a new and more precise system of notation employing the staff, called the Kyivan notation.

Polyphonic music was cultivated primarily by church brotherhood choirs. The choral concerto in one movement, composed for non-liturgical texts, became a very popular form. The composers of polyphonic music were, among others, Mykola Dyletsky (the author of a handbook on the theory of music written in 1677) and Andrii Rachynsky.

Several outstanding Ukrainian composers of liturgical music, including Maksym Berezovsky, Artem Vedel, and Dmytro Bortniansky, emerged during the latter half of the 18th century.

The predominant form of their compositions was the cyclical choral concerto.

Choral music. Music written for performance by choirs. In Ukraine the development of choral music is linked closely with the church.

In the Eastern church choral singing is unaccompanied by musical instruments; hence, Ukrainian church choral music was and remains a cappella.

Early choral music was monodic. Polyphony developed only in the 16th century. At the time a unique form of choral concerts known as partesnyi arose.

The number of voices increased from the simple three and four to the more complicated eight, which were typical at the end of the 17th century.

Some composers tried an even greater number and, in one case, even eighteen voices.

In the second half of the 18th century there were several famous composers of church choral music: Maksym Berezovsky, Dmytro Bortniansky, and Artem Vedel. Their works, which were choral music a cappella, called concerts, are remarkable for their cyclical structure of several movements and contrasting solo and choral parts. In their works the four-voice choir became the basic form.

Berezovsky Maksym (1745 - 1777)Berezovsky Maksym (1745 - 1777)a prominent Ukrainian composer, a prominent Ukrainian composer,

one of the creators of the Ukrainian choral style one of the creators of the Ukrainian choral style in sacred musicin sacred music

Berezovsky studied at the Kyivan Mohyla Academy and sang in the court choir in Saint Petersburg, where he also studied composition under Francesco Zoppis.

From 1759 to 1760 he performed as soloist with the Italian opera company in Oranienbaum near Saint Petersburg.

From 1765 to 1774 he studied in Bologna, Italy, under Giovanni Battista Martini, and in 1771 gained the title of maestro di musica and became a member of the Bologna Philharmonic Academy.

Berezovsky was the first representative of the early Classicist style in Ukrainian music. He was the composer of a series of sacred works (12 concertos and a full cycle of liturgical chants), of which only a few have been preserved.

His most outstanding choral works are the concerto Ne otverzhy mene vo vremia starosty (Do Not Foresake Me in My Old Age), liturgical music for ‘Otche nash’ (Lord's Prayer) and ‘Viruiu’ (Credo), and four communion hymns—‘Chashu spaseniia’ (Chalice of Salvation), ‘V pamiat' vichnuiu’ (In Eternal Memory), ‘Tvoriai anhely svoia’ (Let the Angels Create), and ‘Vo vsiu zemliu’ (Over All the Land)— which are musically related to Ukrainian folk songs and to the tradition of Kyivan church singing.

Do not cast me away when I am oldDo not cast me away when I am old The most known concert of M. Berezovsky is created the epoch in European choral music and

brought world's glory to composer.

http://www.youtube.com/watch?v=T2BRTRffFlM&feature=related

The concert "Do not cast me away" - is the classical example of cyclical choral concert, that was made by venetian cantata principe: developed topic in contrast parts with final fouga.

This concert was written in 1765 - 1766. It's literature base were words from 71 of David's psalms, however author applied not all the text, but just some part: Chosen 5 stanzas the most dramatic of all 24. A peace of text from the concerts in translation of metropolitan I. Ogienko:

Do not cast me away when I am old;

do not forsake me when my strength is gone.

For my enemies speak against me;

those who wait to kill me conspire together.

They say, “God has forsaken him;

pursue him and seize him,

for no one will rescue him.”

Do not be far from me, my God;

come quickly, God, to help me.

May my accusers perish in shame;

may those who want to harm me

be covered with scorn and disgrace.

The concert consists of 4 parts, that brightly contrasting with each other and by warmness and by colors, but mainly - by moods, that applied in it. The main idea of the concert completely corresponds to known since antique metaphor on meaning heroically battle for worthy life - through sufferings and hard checks of body and soul - to fight and victory.

The first part expresses the great sorrow, several times in it repeats asking of desperate human to almighty and merciful God. The melody, by itself, reminds sounding of the most of Ukrainian native sound. In its development it gets dramatic features, like applies these hard tests that human got to face, creates atmosphere of calmness.

The second part, that presents enemy's power with it's aggressiveness and evilness, starts immediately after the first part, without any break. Here, as well can be felt the influence of Ukrainian songs, but composer uses it in a different way: motives of Ukrainian songs getting evil and cruel sounding, like the fortune's evil smile.

The third part - is the smallest among all, it's like the last passion prayer before decisive final, that should come soon, suddenly calms in obedience and humbleness.

With more contrast brushes into this prayer and reserved mood resolutely theme of final fugue which's the main idea is the same melody, which was used for a prayer "Do not forsake...". But now it transforms to unknowing - with unconfident, not brave in its hopeless and desperation asking grows strong, wily motive filled with living power and Inviolable that quickly and victoriously achieves its top. Confident and solemnly sounds the last rows: "be covered with scorn and disgrace". And the concert's final perceive as victory of human's spirit over relentless of destiny.

http://www.youtube.com/watch?v=T2BRTRffFlM&feature=related

Bortniansky Dmytro (1751 - 1825) a prominent Ukrainian composer and conductor

Dmytro Bortniansky is best known today for his liturgical works. He was one of the "Golden Three" of his era, along with Artemy Vedel and Maksym Berezovsky.

Bortniansky composed in many different musical styles, including choral compositions in French, Italian, Latin, German and Church Slavonic.

In his choral liturgical works Bortniansky combined the age-old traditions of Ukrainian choral music with the achievements of late 18th-century European music. The influence of melodies of Ukrainian folk songs is clearly discernible in these works.

Concentrating exclusively on the purely vocal a cappella style, Bortniansky achieved a high level of technical proficiency in his sacred music, simultaneously imbuing it with a deep spiritual mood.

Bortniansky's choral concertos are characterized by the use of the fugue form in the final movement.

One of the best concerts composed by D. Bortniansky - is a concert №15 "Come and will sing". It includes 3 parts, each one of which has its unique mood.

The first part was founded on motives of favorite composer's cantata-vivata. Remarkable, calls to tone in the first cycle immediately injected listener to a joyful mood, elevated holiday. Small, very dynamic, this piece is built like a song, or the same edge, there are no bright contrasting episodes, but rather the entire development is subject key emotional state. Masterfully decorated melody taught in four voices similar to Ukrainian songs. The composer uses here expressive techniques to achieve their goals, such as an individual canon votes short, energetic exclamations, so it seems a large bright spacious house, short, jerky phrases reminiscent of happy, excited shouts of celebration.

The second part is about sufferings and crucification, suddenly takes listeners to a completely different world - world of sorrow. Mild melodies are like painful breath that comes from chest. Suddenly and sharp transition from one group of voices to other, comparison men's and women's voices in choral work emotionally impresses as crying for the Son of God, conveys the state of despair and regret.

Third part is solemn and joyous - cause it's about Christ's raising and the glory to God. But this mood comes not at once. Firstly, great Bible's "trumpets and pipes" that echoed afar, timid, and only gradually approaching, reach the largest volume confident becomes cured. A kind of meaningful arch of the first part, returns the same sense of celebration that struck at the concert. Even some phrases finals are based on the same melodies close to the edge-viva. The overall image mood of the concert, despite the tragic feelings expressed in the middle part, is as joyful, glorious, solemn as suitable for music written about the greatest Christian holiday - the Resurrection of Christ, Easter.

Concert Concert №№ 15 "Come and will sing“ 15 "Come and will sing“http://www.youtube.com/watch?v=BUKnPf5vUR8http://www.youtube.com/watch?v=BUKnPf5vUR8

http://www.youtube.com/watch?v=QjdcFAZ5dZA

Vedel Artemii (1767 - 1808)Vedel Artemii (1767 - 1808)a prominent Ukrainian composer,a prominent Ukrainian composer,

conductor, singer (tenor), violinist, and teacherconductor, singer (tenor), violinist, and teacher

After studying at the Kyivan Mohyla Academy he was sent to Moscow in 1787 to conduct the choir. In 1792 he asked to be relieved of his duties and returned to Kyiv to conduct a military choir. In 1796 -1797 he conducted the Kharkiv College choir. This period (1792–1797) saw the height of Vedel's musical creativity and he composed most of his choral concertos and other works at that time.

The publication and performance of his works were banned (first by Paul I and, later, by Alexander I) for over one hundred years after his death.

Armerii Vedel, whose musical legacy consists entirely of church choral music a cappella, is considered the chief representative of the Cossack baroque style in Ukrainian music.

More than 80 of his compositions have been identified, including 31 sacred concertos, 6 trios, two liturgies, one all-night vigil, works in honor of the Virgin Mary and the Nativity, and paschal hours.

Concert “Till when, Lord”Concert “Till when, Lord”http://video.mail.ru/mail/rubatini/417/1802.htmlhttp://video.mail.ru/mail/rubatini/417/1802.html

Concert "Till when, Lord" belongs to the Kyiv period of creativity, was written in 1794 - 1796. It is based on Psalm of David number 12, which was singing during Epiphany.

The poetic image of the concert is deeply sad, plaintive, yet the end is not devoid of enlightenment:

«Till when, Lord will be completely forgetting me? While will hide Your face from me? While my enemy will torture me? Have mercy and listen to me, Open my eyes, not to fall asleep by death, don’t let the enemy to say: «I overcame him». I hope on your favor. Let my heart rejoice for you rescued me. I will sing to the Lord, cause he did good to me»

Pattern content of Psalm fully consistent to moods and feelings prevailing in the works of A.Vedel. Composer finds surprisingly accurate and compelling tools to implement these emotional colors. Concerto has three parts, but there are no clear contrast, they are all slow, restrained, sad. The musical language is very close to the Ukrainian song sources which were familiar to composer since his childhood - a song lyric, song, thought, and edging.

http://video.mail.ru/mail/rubatini/417/1802.html

Thanks for your attention!

Done by Alona Yukhimets